Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Azerbaijan and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1976.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Paris kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Livin' Joy to the rap kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Scratch Acid. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Bootsy Collins,
Rufus Thomas,
Wighnomy Brothers & Robag Wruhme,
Robert Hood,
Juan Atkins,
Siouxsie and the Banshees,
Zapp,
Kayak,
Neu!,
Bobby Hutcherson,
Barbara Tucker,
EPMD,
Interpol,
Lungfish,
Section 25,
John Coltrane,
Derrick Morgan,
K-Klass,
Pantaleimon,
Danielle Patucci,
John Lydon,
The Gun Club,
Donny Hathaway,
Gil Scott Heron,
Motorama,
Colin Newman,
The Red Krayola,
Subhumans,
Agent Orange,
Eric B and Rakim,
Gichy Dan,
Barry Ungar,
Derrick May,
Sällskapet,
T.S.O.L.,
Brothers Johnson,
The Barracudas,
Pagans,
Bang On A Can,
Deepchord,
Simply Red,
Scott Walker + Sunn O))),
Glenn Branca,
Radio Birdman,
The New Christs,
Ohio Players,
Das Ding,
Richard Hell and the Voidoids,
Qualms,
Black Flag,
The Alarm Clocks,
The Associates,
The Fire Engines,
Young Marble Giants,
Sonny Sharrock,
the Fania All-Stars,
Stetsasonic,
Parry Music,
Connie Case,
Iggy Pop,
The Detroit Cobras,
The Last Poets,
a-ha, a-ha, a-ha, a-ha.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.